The Center for Social Innovation is a coworking space and a community for people seeking to change the world. They enable nonprofits, for-profits, entrepreneurs, artists and activists working across sectors to build a better world.
image courtesy of the Center for Social Innovation
For All The Vanished Things
March 3—6, 2016
Centre for Social Innovation
601 West 26th Street, 3rd Floor, New York, NY 10001
Curated by Kimi Kitada
Thursday, March 3: 10am—5pm Friday, March 4: 10am—5pm Saturday, March 5: 1—4pm Sunday, March 6: 1—4pm
Closing Reception, Centre for Social Innovation
Sunday, March 6, 2—4pm
JeeHee Kang’s For All The Vanished Things grapples with ideas of memory and loss, as recorded through fleeting relationships with material surroundings and objects. This series is an ongoing investigation that exposes how our perception is often limited. In the work, Fire Exit, this intimate portrait of a door represents a utilitarian entity: that is, a fire exit serves a simple, essential function. The rubbing process of frottage invites the viewers to take a closer look into the protruding details of the lock, the creases around the doorknob, and the familiar horizontal bar that facilitates one’s escape. In these works, the vantage point of seeing multiple angles simultaneously produces a kind of fossilized memory—or a state of permanence—for these particular objects.
Taken as a series, JeeHee Kang’s works shift not only the perception of a three-dimensional object to a two-dimensional plane, but also reevaluate the notion of any object’s singular purpose. Considering its primary function, a refrigerator is a vessel for storing perishable items, though the new perspective of Blue Refrigerator can be viewed as a meditation on its industrial, aesthetic elements.
The physical objects in For All The Vanished Things serve as signifiers for memories; the artist’s point of departure for this series was an enduring memory of a small pedestrian bridge in Seoul, Korea. She used to cross the bridge every day, but it was suddenly taken down, overnight and without warning. While the disappearance of this bridge became an indelible memory for the artist, it also signifies how mundane things can become revered, especially after they vanish.
Fountain House gallery is the premier venue in New York City representing artists with mental illness. The gallery sells original artworks and collaborates with a wide network of artists, curators and cultural institutions.
courtesy of Fountain House Gallery
Cascading Consciousness March 3 - 6, 2016 Fountain House Gallery, 702 9th Ave, New York, NY 10019 Tues.-Sat. 11-7; Sun. 1-5.
Event Schedule: Friday, March 4, 6:30 - 7pm, Ryan Krause performance. Saturday, March 5, 3 - 5pm, Geraldo Mercado performance; Reba Hasko performance
Curated by Adam Zucker in collaboration with Ariel Willmott, Director of Fountain House Gallery.
The result of the artist making art is the release of that work from the artist to the viewer. Art has the means to be cathartic by releasing the artist’s innermost thoughts and sharing them with the outside world. Once the artwork is released, it is the role of the viewer to make connections from the fragmented pieces that the artist released.Studies have shown that there is sound evidence for a neurological relationship between visual creativity and language. This exhibition scrutinizes the work made by artists exploring various themes relating to mental health and mindfulness. Featuring a series of performances by Geraldo Mercado, Ryan Krause, Reba Hasko and an installation by Lizz Brady, the works in Cascading Consciousness yearn to harmonize the expressive and psychological artistic process with the subjective experience of the viewer.
Lizz Brady’s sound and video works mirror the temporary malfunction of her mind which mark her as corrupt and broken. She strives to create a ‘Cartesian Dualism’, a link between physical ‘stuff’ and thinking ‘stuff’; through the building of installations, to form ‘The Moment’ where juxtaposed ideas permeates to fill the empty spaces, in the solid world or within our imagination.With the use of subtle humour in her work, Brady explores the theory of laughter, where our amusement is no more than a “sudden transformation of a strained expectation into nothing” (Kant)
Through the medium of performance Geraldo Mercado aims to transform his body into an empathetic zone, yearning to become the catalyst for the viewer’s self reflection. He seeks to make each performance confrontational, introspective, aggressive, high energy, and very fun.
Ryan Krause and Reba Hasko create unique and visceral sound performances using their classically trained voices. Krause mixes a unique brand of humor, akin to stand up comedy within a diverse range of stylistic movements and tones. Hasko’s meditative set of ethereal, live vocal looping, produce a genuine auditory experience that conflates the mind, body, and soul.
Creative Art Works provides dynamic visual arts and multimedia experiences to New York City youth. Students are never charged for participation. Our in-school and out-of-school-time classes, community art-making events, and public art youth employment programs build confidence, unlock a love of learning, and create profound connections between our young people and their communities.
Objecthood March 4- 6, 2016 The Atrium Shops + Cafes -601 Lexington Ave ( 53rd & Lexington Ave, NE corner ) Fri/Sat/Sun, 9 AM-9 PM
Curated by Victoria Manganiello; exhibiting artist Anne-Marie Lavigne.
Objecthood, is a series of four woven sculptures by French-Canadian artist, Anne Marie Lavign. The work is an embodiment of opposites and polarities. Soft yet stiff, heavy while light, intense and familiar, and real and unreal- these objects oscillate a viewer within the spectrum of emotion. Transcending form and floating at eye level, these sculptures ask a viewer to get personal. They present an opportunity for reflection, a moment to pause. Made, painstakingly from the most familiar material: cotton -something that every human on earth interacts with, intimately, every day, children and adults alike- are familiar with this material, the fabric of their lives. Objecthood is really a springboard for emotional experience and a shift in contemplative thought to be accessed by any viewer.
MULTI_SITE: SEAN NAFTEL // inter-ACT-ion
March 4- 6, 2016 MIgrating between Fountain House Gallery on Fri // Centre for Social Innovation Sat x Sun Hours - see Facebook for updates
Curated by Audra Lambert
Artist Sean Naftel has created a site-responsive participatory project, inter-ACT-ion, which will migrate between Fountain House gallery and the Centre for Social Innovation over the course of alt_break art fair. Opening during alt_break's Friday 3/4 launch event at Fountain House gallery from 6-8 pm, Naftel's work bridges relational aesthetics and interactive installation art, allowing participants to engage in a self-directed manner within a built environment consisting of shelving, a table and chairs and 3 board games split apart into distinct halves: one of which is present on the table while one is hidden. Guests are invited to locate the missing component and to engage another participant to play with them: the activity is meaningless if performed without a co-conspirator. This demonstration of social agency echoes the act of uniting two disparate entities, manifesting the same spirit of connection as found in alt_break art fair's own merging of the distinctly separate worlds of contemporary art and social justice. Part participatory call to action and part amusement, inter-ACT-ion invites guests to engage directly with other visitors, encourages unique interactions to arise and manifests the singular spirit found in re-imagining how the means by which we engage is also conversely the means by which we can choose to remain separated.